2022 Directed by Olivier Assayas
Mira is an American movie star disillusioned by her career and a recent breakup, who comes to France to star as “Irma Vep” in a remake of the French silent film classic, “Les Vampires.” Set against the backdrop of a lurid crime thriller, Mira struggles as the distinctions between herself and the character she plays begin to blur and merge.
Olivier Assayas Alicia Vikander Sylvie Barthet Sam Levinson Ashley Levinson Kevin Turen Stuart Manashil Daniel Delume Ravi Nandan Hallie Sekoff Jes Anderson Joe Cunningham Jeremy O. Harris Harrison Kreiss
אירמה וופ, 이마 베프
Humanity and the world around us Relationship comedy romance, emotion, relationships, feelings or captivating sex, sexuality, relationships, erotic or feelings weird, surreal, bizarre, dream or confusing historical, royalty, sumptuous, lavish or drama horror, creepy, eerie, blood or gothic Show All…
My favorite TV series so far this year. Specters bedevil every frame of this, none looming larger than Maggie Cheung and VERTIGO.
Irma Vep. 2022. Directed by Olivier Assayas.
The conclusion of Irma Vep (The Terrible Wedding) was so profound and wrapped up everything and left us wanting to see the entire series all over again. As Mira slipped more and more into her character of Irma Vep she was able to transcend everyday human limitations. She began to walk through walls and act as a voyeur. She saw and heard the secrets of those she desired and envied.
Rene was reborn and his desire to make films was restored. In fact, the entire series elevated the importance of film as an escape of everyday life. The actors conjure their roles and they channel/embody their character. As the director acts as a…
Homage, and it's delicate weavings; the luminous spectres of the past manifesting in residual pathos. The beguile of self disillusionment, a jarring melancholy, and the reckoning desperation to redeem oneself to a total autonomy. An animosity between art and existence, unable to assume as clout burdens departing from time ago, agonising without relief. Ambivalence as the only liberty, seduced by cinematic insurgency to make sense of such a mercurial world, one foxed in desire, ego and obsession. Each scene to reconcile a truth, and each indelible celluloid to bring artifact to imagination - such is the magic of film. In such final admission, is where such spectres come in seldom form, revenants of a tangible actuality that bring us back to life, back to quiet reality.
"Movies are a portal to some sort of spiritual world. Some sort of spiritual world we don’t have access to anymore."
Cinephiles will claim that this is a meta(physical) love letter to and critique of Cinema™, a supplement to the original Irma Vep, but we all know it's just that "hey" text you send your ex whenever you're horny, expanded to eight edging hours.
I talked to Olivier Assayas about episodes one through four.
"But, you know, it’s me and it’s not me. René is myself and not myself. The moment I give it to an actor and write the lines, shoot it on the set with a film crew, it does become something else. In the same way Jade Lee is not exactly Maggie — even if part of it is [Laughs] based on real life. The thing is… again, I feel comfortable with it because it’s a comedy, I’m making fun of myself, I deal with genuine emotions. But I think it’s genuine emotions everyone can share: love lost, failed marriage. Sadly [Laughs] it’s a very common situation. So I touch something that is pretty universal."
Irma Vep. 2022. Directed by Olivier Assayas.
Episode Three: Dead Man’s Escape
Episode Four: The Poisoner
Episode Five: Hypnotic Eyes
The Dead Man’s Escape is another four and half star episode with Olivier Assayas showcasing his command of meta, surreal, independent filmmaking that is just as incredible as Les Vampires (1915). Rene is struggling with issues with his gorgeous ex wife who portrayed Irma Vep. Assayas has also given a cameo to Nathalie Richard who starred in Irma Vep (1996). At the heart of every episode Assayas is examining the state of contemporary cinema and weaving in the glorious silent cinema of Les Vampires (the past). As Mira (Alicia Vikander) is in denial of becoming more and more at one…
Logging as a film because that’s how René would want it.
Brilliant. Favorite TV thing since Twin Peaks The Return. Assayas does impossible level of self-evaluation and reflection. Please let Alicia let loose more and be fun going forward from this. Guy Ritchie and Olivier have figured that out. Gottfried is one of my fave TV characters of all time.
Assayas understands that cinema cannot evolve without reflecting on its less desirable transgressions, and the only way to make that process bearable (or even valuable) is by reconstructing the origins of the art form with a back-to-basics approach. It’s not as revelatory as it sounds, even if it’s always a marvel to watch, but something tells me that’s precisely the point.
‘Their black magic. You conjure them, they awaken you and then leave you stranded. In limbo. Between reality and imagination. You loose yourself…….‘
And Irma Vep leaves you with that. The mystical allure of cinema and the wistful warmth of poignant affection, all laid bare in a manner so plainly evocative one can’t help but ponder and turn teary eyed. A reincarnation of a tale remade once before, the beguiling, bewitching power of the most profound of human emotion entwined with the striking grace of the very nature of art lends a singularly novel charm tugging at the dainty heartstrings and enchanting the mind in the simplest of placid ways, one to deftly veil the other. Ever nimble and ever…
Just when you think it can’t get any gayer or any cooler, the queer princess herself, Kristen Stewart, turns up to rock the party.
Way too long, overall, but enjoyable and interesting all the same. I liked how it got weirder and weirder as it went on. Also, the first role I’ve genuinely liked Alicia Vikander in.
Vampires. Lesbians. Actresses. Can’t go wrong.
A total delight, a remix/update of the original movie's rumination on what it means to care about movies in an ecosystem where they are being constantly, ruthlessly degraded. Also like the original movie, I can't tell if the film-within-a-film is supposed to be good or not.
